WAFCON 2024 hosts Morocco powered through a penalty shootout to make it into their second consecutive final match. Anissa Lahmari scored the decisive penalty kick as the Atlas Lionesses squeezed past Ghana. All four penalty takers for Morocco scored, while the Black Queens missed their last two penalties after scoring the first two.

Ghana took the lead during regulation, through Stella Nyamekye’s strike halfway through the first half. Sakina Ouzraoui pulled Morocco level shortly into the second half, setting up a tense atmosphere as the match went all the way through extra time. The Black Queens won their quarterfinal match against Algeria on penalties, but they couldn’t repeat the same feat against Morocco, and will now attempt to earn a third-place finish on Friday versus South Africa.

Morocco entered this year’s WAFCON as one of the strongest contenders, as the Atlas Lionesses have emerged as a growing force in African women’s football. They cruised past Mali in the quarterfinals, winning 3-1 and conceding only a late consolation goal.

Morocco boasts two of the highest goalscorers in the tournament so far, including last WAFCON’s Player of the Tournament Ghizlane Chebbak, who scored four goals in the group stage but is yet to find the back of the net in the knockout phase. Forward Ibitsam Jraïdi scored twice against Mali and was among the penalty scorers in the semifinal match. There will be no lack of firepower on Saturday, as the hosts will look to win their first WAFCON title against record holders Nigeria.

A late, chaotic goal was the definitive moment as Nigeria’s Super Falcons edged their way past South Africa to the final. Michelle Alozie’s long ball forward from close to the halfway line flew by two of her chasing teammates and crawled past Banyana Banyana’s onrushing goalkeeper, just over two minutes before the final whistle for regulation time was due to be blown.

Nigeria edged the defending champions out 2-1. Super Falcons’ captain Rasheedat Ajibade opened the scoring from the penalty spot at the end of the first half; however, Linda Motlhalo leveled things up on the hour mark. Alozie’s auspicious strike closed things, leaving South Africa to now compete in Friday's third-place match.

The Super Falcons will be playing for a tenth WAFCON title and a twelfth overall continental title on Saturday. The team has had a remarkable run to the final, with Motlhalo’s strike being the only goal it has conceded all tournament.

Over the weekend, they trounced the Zambia women’s team 5-0, a surprise result considering it was expected to be a tight affair. Instead, Nigeria impressively shut off Zambia’s usually prolific forward pair of Barbra Banda and Racheal Kundananji, on their way to a victory that symbolizes their dominance throughout the tournament.

Through the group stage and the knockout phase, Nigeria has demonstrated that they have the firepower and grit to win, either by overwhelming opponents or grinding out difficult wins, which are strong signs that they’ll be prepared to win it all on Sunday.

The winners of WAFCON 2024 will go home with an all-new trophy and a prize of $1 million. Second- and third-place teams will receive $500,000 and $300,000, respectively.

This story was originally posted July 22 at 3:37 p.m. and has been updated.

July 23, 10:53 a.m. Updated to include semifinal results and finals updates.

It is common knowledge in the Arab world that Egyptians tend to overstate their cultural achievements. They successfully exported their films and music to the rest of the region, asserting themselves as an artistic hub for decades (and sometimes forgetting that they are not the only ones creating good art).

Growing up with Ramadan mosalsalat, other Arabic speakers usually switch to the Egyptian dialect when talking with an Egyptian because most Egyptians only understand their own dialect. As a result, there is a certain resentment when Egyptians dominate cultural spheres.

This is to say that I am aware of how controversially Egyptian April’s list of best North African songs is. But denying that the catchiest, most interesting music came out of Egypt this month would be a lie. So, at the risk of being part of the Egypt-centric problem, here are this month’s song recommendations.

Carly Gibert, Lella Fadda - “Everything new [remix]” (Egypt, Spain)

Egypt’s most-streamed female rapper Lella Fadda jumps on a remix of Spanish singer Carly Gibert’s “Everything New,” rapping in Arabic and Italian over the track’s industrial beat. With its ethereal back vocals and harp-like synths, “Everything New” is at once a hopeful spring song and a badass rap collaboration.

Nadah El Shazly - “Kaabi Aali” (Egypt)

“Kaabi Aali” teases the upcoming second album of Egyptian-born, Montreal-based producer, vocalist, and composer Nadah El Shazly, titled Laini Tani, set for release on June 6. As with her previous offerings, El Shazly creates a hypnotic, multi-layered soundscape, fusing experimental electronics and Egyptian rhythms over which she delivers haunting vocals. “This song takes place amidst Cairo’s neon green city lights and should definitely be listened to at high volume in the car,” says El Shazly.

Wegz, Tayc - “Girlfriend” (Egypt, France, Cameroon)

Rapper Wegz teams up with French Cameroonian R&B singer Tayc for Afro-R&B track “Girlfriend,” demonstrating Wegz’ versatility; the single dropped only a few days after a nostalgic return to his 2019 trap roots on “ElWa3d.” While the track is an interesting, unusual conversation between artists from different worlds, I would have loved Wegz to do a dance scene like Tayc for real revolutionary appeal.

Mazin Hamid, Eiman Yousif - “Ya Jamal Alneel” (Sudan)

Sudanese musician and actor Eiman Yousif, best known for her role in Goodbye Julia, collaborates with Mazin Hamid for “Ya Jamal Alneel,” an ode to the beauty of the River Nile. Over simple guitar and melodica chords, this heartfelt duet remembers Khartoum as the place where the White and the Blue Nile converge, invoking memories of joyful afternoons at the riverbank before the outbreak of war.

Dallo - “Ghara (Remastered)” (Egypt)

Cairo-born electronic music producer Dallo returns with “Ghara (Remastered),” a hypnotic journey that links sufi chants with electronic experimentation and plays with the voice as a soundscape.

Warchieff, Freek, Ma-Beyn, The Hws, TUFF - “Mahzla” (Egypt, Saudi Arabia, Somalia, Syria, Palestine)

On “Mahzla,” Saudi producer Warchieff brings together a powerful group of up-and-coming rappers from North Africa and the Levant. The track features Freek, Ma-Beyn, The Hws, and TUFF, blending their high-energy bars and various Arabic dialects with hard-hitting trap beats and an experimental soundscape built on an unsettling bassline.

DJ Habibeats, Felukah - “Hayati” (Egypt, Palestine, US)

Taking us back to the early 2000s, Palestinian American DJ Habibeats and Egyptian rapper and singer Felukah throw a garage party on “Hayati,” a dance track that makes me yearn for summer. Over Habibeats’ trap rhythms and R&B textures, Felukah delivers bilingual Arabic and English vocals that explore diasporic identity, a theme relevant to both US-based artists. The mood switch halfway through the track makes me want to hit repeat every time it ends.

Marwan Moussa - “Bosakber” (Egypt)

Egyptian German rapper Marwan Moussa, the country’s third most streamed rapper, is preparing to release his most personal album. The album is split into five parts, each section tracing the stages of grief—denial, anger, bargaining, depression, and acceptance—after the loss of his mother. “Bosakber” is the second preview single, a fusion of hip-hop beats, sufi elements, oud arrangements, and shaabi that narrates the experience of heartbreak, trust issues, and spiraling mental chaos. The music video is a testament to Moussa’s love for film, which he studied in Rome.

Obie - “AS7a” (Sudan)

Obie is a Sudanese teenager with a promising flow. On his latest track, “AS7A,” he reintroduces himself to the scene after releasing his Supernova EP last year, and I am intrigued. Mixing fast, playful beats inspired by Afrobeats and Amapiano, paired with his effortless, assertive bars, Obie sounds older than he really is.